2011: The Run-Down

Continuing with tradition, I've decided to rehash some of my favorite things in 2011 (mostly in pop culture, admittedly), and take a look back at the year that was.
*Fun fact: While compiling this list, I realized I might be one of the only people in America who earnestly did not pay any attention to coverage of the Royal Wedding.

Favorite Performers:

Ryan Gosling:  I think pretty much everyone else on the planet can think of at least one reason why he makes the list, but I’ll try to jog the memory of anyone drawing a blank.  First of all, he was everywhere at the movies this year, from Blue Valentine to Crazy Stupid Love to Ides of March to Drive.  He’s just plain awesome in 99% of his public appearances, from bringing his dog to Jimmy Fallon’s show for an interview to intervening in a brawl on the streets of New York.  Not to mention the unf factor.  I mean, seriously, have you LOOKED at the man?

The HP Trio (aka Dan Radcliffe, Rupert Grint, Emma Watson):  True, it’s very possible that none of them will really have a career to speak of now that the biggest franchise of their lives has drawn to a close, but even if these three never do anything of note again, all the memories they’ve given us are more than enough to last a lifetime.  I know I’m not the only one who enjoyed every minute of growing up alongside them while they brought my favorite stories to life.  I’ll miss all the hype and the anticipation of a new HP film every two years, but it’s undeniable that these three absolutely went out on top.  So to Daniel, Rupert, and Emma—thanks for a decade of magic.

Amy Poehler:  Ms. Poehler has always been both hilarious and extremely innovate (and very underrated-ly so), but she really took 2011 by storm.  Parks and Recreation aired its entire flawless 3^rd season during 2011, and continued its winning streak in season 4.  As if that weren’t enough, Amy also delivered a commencement address at Harvard this spring, in which she imparted her unique brand of wisdom to an audience of young people who genuinely need to live in the same spirit of passion, determination, and kindness that is evident in everything this fantastic woman does.

People I’m Sick of Hearing About:

Anyone with the last name Kardashian (second year in a row, congrats ladies!). 
All the batshit crazy Republicans running for President in 2012. 
Anyone who is or has been a contestant on Dancing with the Stars.

Best Shows:

Parks and Recreation
How I Met Your Mother

Great Episodes:

Parks and Recreation:  “Road Trip” and “The End of the World”
Community:  “Remedial Chaos Theory”
Modern Family:  “Phil on Wire”
The Office:  “Goodbye Michael”
How I Met Your Mother:  “Symphony of Illumination”

Top 5 Films:

1. Harry Potter and the Deathly Hallows, Part Two
2. The Ides of March
3. Contagion
4. Bridesmaids/Horrible Bosses (tie)
5.  The Girl with the Dragon Tattoo

Disappointments:

Codes and Keys:  Death Cab doesn’t work when Ben Gibbard is happy.  There, I said it.  This album is boring and repetitive.  Additional note:  now that he’s divorcing Zooey D, maybe the magic of DC’s initial gloom will return (silver lining, yes?)

America/the American economy:  No jobs, no money, no concern from the men in charge; no wonder the 99% have taken to the streets.

Honorable Mentions (no category, but they kept me interested/intrigued/excited throughout the year):

ADELE:  Remember the first time you heard Someone Like You?  Did you cry in public a little bit, like I did?  This woman’s voice is magic.  Case closed.

Steve Carrell:  Since he didn’t get an Emmy, I’m giving him my equivalent.

The cast of Parks and Recreation (especially Aziz Ansari and Adam Scott):  Flawless, and the fact that they didn’t snag a SAG nod for their work as an ensemble is criminal.

Jason Sudeikis:  This is rumored to be his last season on SNL, and I’m psyched to see if the career momentum he’s had recently continues.

Alexandre Desplat:  If he doesn’t get an Oscar (or at least a nomination) for the DH2 soundtrack, I’m considering it a crime.

Arrested Development:  It’s coming back!!!

JK Rowling:  Always and always, because none of the magic would’ve been possible without her.

Seth Meyers:  Killed it at the White House correspondent’s dinner, head writer at SNL in his 11^th year, remains absolutely charming in everything he does.

That's all I've got!  Here's hoping that 2012 brings even more laughter, epic moments, and joy (and you know, not that pesky apocalypse).  Happy New Year, and thanks for reading!

Christmas is All Around: Love Actually, Questions and Curiosities (Pt. 2/2)

As we've already seen in part one, Love Actually has a lot of threads running in just about every direction imaginable.  There are so many nuances, plots, characters, and connections to appreciate, especially if you're a repeat viewer like myself.  Here are some of the things that always come back to me:


The connections:
This may be bordering on unrealistic (London's not that small, after all), but so many of these characters have ties to one another, and half the fun of watching this movie is trying to track all of them.  For example, Karen's brother is Prime Minister David, whose love interest Natalie is next door neighbor to Mia, the slutty secretary hell bent on seducing Snape Harry, who just happens to be married to Karen, who is BFFs with recently-widowed Daniel... You get the idea. 


Unclear connections:
Jamie (Colin Firth) and just about everyone. Juliet, Peter and Mark meet him at the airport in the end, and Sarah seems to be sitting with him at Peter and Juliet's wedding, but his ties to them are unclear-- are they all just friends/acquaintances?

Unrealistic lifestyles: 
We see a lot of the characters at their respective jobs throughout the film, and I have to say, I'm not sure they'd all be able to afford living in central London in, let's face it, some pretty snazzy digs.  Sarah, Harry, Carl and the gang work at what I've determined is either a magazine of some kind, or a non-profit organization (or a magazine for a non-profit, I guess); Juliet appears to maybe be a fashion designer (although she is the most consistently terribly-dressed character in the film); Mark...makes movies, I guess, though he also works in an art gallery?  Anyway, they're all very artsy and eclectic, but I have to wonder how likely it is that so many creative types can swing the ritzy-looking lifestyle they have in this movie.  But then again, maybe a bit of a posh appearance comes with the British accent and the crisp look of London.

Lingering questions:
 Where exactly is Carl from/what is that beautiful accent?

What is ailing Sarah's brother? His few shown behaviors in the film don't seem to point to anything definitive.

What exactly is going on behind the scenes with Harry's affair? When does he actually find the time to sleep with Mia/give her the necklace, etc.?

Are we supposed to be happy for Karen and Harry's apparent reunion at the end?  Because I'm not.  I get staying together for the kids and all, but there's a kind of deep discontent evident in that final exchange that just leaves a bad taste in my mouth.

Why, exactly, is Colin in this movie?  I mean, it's good for a bit of a laugh, but nearly every other story line teaches a lesson or sends a message about love.  All we learn from Colin's misadventures is that American girls are sluts, and lots of us have Southern accents (usually corresponding with an uptick in sluttiness).

Why does American Joanna (who has the singing voice of a goddess) attend Sam's school in London, especially when she apparently has a home in the U.S.?  I mean, obviously, it allows us to have the almost-too-exciting rush to the airport scene, but other than that, this seems a little strange.

Christmas is All Around: An Ode to 'Love Actually' (Pt.1 of 2)

Some films just don’t hold up with the passage of time.  Their jokes are too topical, their soundtracks are too contemporary, or their stories simply fade as our culture evolves.  But Love Actually continues to hold up year after year, warming hearts and eliciting chuckles even on the hundredth (or thousandth) viewing.  There are many reasons this movie stands the test of time, but I think a few merit discussion, whether you’ve never seen it (you should), or haven’t watched it in a while and want to appreciate it with new eyes.

1.  Christmas without the Saccharin:  Yes, this is a film that takes place at Christmas.  And yes, the film’s most climactic scenes take place on Christmas Eve.  But it also veers away from the typical Christmas film in some respects, refusing to be preachy or overly trite.  Too many Christmas films set out to teach a lesson just in time for the season, or over-emphasize the importance of a particular kind of acceptable family unit with which to pass the holiday.  Love Actually does neither of these things.  In fact, there are several characters (Billy Mack, for one, and Colin Firth’s Jamie, for another) who reject spending Christmas with the people society tells them they should in favor of connecting with the person they each truly care about most.  If that’s not a fantastic message for the 21^st century holidaymaker, I don’t know what is. 

2.  Genuine Performances + Earnest Storytelling:  Sometimes when more “serious” actors appear in a romantic comedy, you can tell that they are performing at less than their usual capacity, phoning it in or, as they might say “just having fun with it.”  Not so with this cast (and it is a large, intimidatingly talented one).  Laura Linney gives a performance that is both lastingly endearing and compelling; Hugh Grant’s David makes the perfect awkward-but-charming politician; and Alan Rickman’s Harry possesses a self-awareness (or lack thereof) that I struggle to comprehend to this day.  And if the performances aren’t enough, the writing and directing shows a dedication to storytelling with integrity, something that is absolutely evident both in the film and its behind-the-scenes features.  Director Richard Curtis put this film together with an intentionality I rarely see in this kind of film, and the payoff is clear.

3.      Something for Everyone:  There really is something for every kind of romantic (and even those who lean more toward the cynical).  You might be looking for a storyline that is both visually hilarious and genuinely cute; I’d refer you to Jack and Judy, who by day serve as stand-ins in various nude scenes in films, but by night are actually shy and somewhat bumbling in their flirtations with each other.  Maybe you’re a fan of adultery stories in films (this is a small demographic, but an existent one nonetheless); then watch Emma Thompson’s Karen get her heart slowly broken as she uncovers evidence of her husband Harry’s affair.  Or perhaps you just like seeing the underdog get what he or she wants the most—if this is the case, you have your pick of stories, from 11-year old Sam’s crush on a classmate, to secretary Natalie’s infatuation with the Prime Minister, to Jamie and Aurelia’s struggle to communicate (literally, they speak 2 different languages).  And there are a few unhappy endings for those of you who crave them:  Andrew Lincoln’s Mark is forced to come to grips with his unrequited love for his best friend’s wife, and Laura Linney’s Sarah allows her own compassion to turn against her, keeping her from the person she loves.

4.      Big Romance:  There are many romantic gestures made by the characters in this film, large and small, elaborately planned and completely impulsive.  And gentlemen, this is where you should be taking notes:  there is a lot to be learned about romance from the men in this film.  I have never watched this movie with another woman and not heard her gush over at least one scene, wishing that her boyfriend/crush/husband would rise to the occasion in such a way.  There are lots to choose from, but perennial favorites include Jamie’s impulsive restaurant proposal, as well as David and Sam’s respective races to reach the girls they love in time for Christmas.  My personal choice for the best gesture goes to Mark, for his final, peacemaking effort with Keira Knightley’s Juliet.  It’s beautiful because he expects absolutely nothing to come of it, yet does it anyway.  I guarantee if a guy showed up on my doorstep with cards like that, I’d probably tackle him.  In the good way, of course.

5.      It’s Still Funny:  This movie came out 8 years ago, and I’ve watched it at least a dozen times each Christmas season since.  Ergo, I have heard all the jokes approximately 10,000 times.  But I still always find something to laugh at, and it’s almost always something different than the last time, because each character brings his or her own brand of humor to the film.  Take Colin, for example:  his entire role in the film is purely somewhat obnoxious comic relief, and it obviously works as a counterbalance to all the melodrama, because I chuckle every single time.  

6.      The Real Star, London:  As a huge Anglophile, my adoration of this film has another dimension entirely.  This movie gives a beautiful view of London all dressed up for the holidays, all twinkling lights and brisk, foggy air.  In my mind, it really couldn’t be set anywhere else and possess the same charm.

7.      All-Star Cast (Really, though):  Let’s just reiterate the list, in case you aren’t aware.  Colin Firth.  Bill Nighy.  Laura Linney.  Hugh Grant.  Liam Neeson.  Emma Thompson.  Alan Rickman.  Andrew Lincoln.  Keira Knightley.  Rodrigo Santoro.  Martin Freeman.  Rowan Atkinson.  January Jones.  Have I made my case yet?

8.      On a Serious Note, the Message:  As Hugh Grant states in the opening narration, this film is first and foremost an attempt to prove that “Love actually is all around.”  This film came out in 2003, a time when the world not only craved but needed such a message, and I honestly don’t think that is something that has changed much in 8 years’ time.  Turn on the news or open the paper and you’ll read almost exclusively about things lacking in love and compassion for our fellow humans.  That doesn’t mean love isn’t there; we’ve just lost sight of where to look for it.  This film is one that attempts to put us back on the right track, and for me it does every single time.  There’s a reason I keep coming back to it, after all, and it’s not just because it warms my heart during my favorite season of the year.

Golden Globe Nominations 2012: Just Stick to Movies, Guys

Dear members of the Hollywood Foreign Press Association:

I respect you.  I do.  In the past you've nominated some of my favorite performances and films, if only because you have more room for them than the more crowded Oscars, for which you also usually set the tone.  And this year you've come through again, giving praise to some films, actors, and actresses who haven't gotten all the credit they deserve for the work they've done this year.  I'm very happy with the film nominations, particularly the heavy presence of The Ides of March, which thus far has my unswerving vote for most well-crafted film of the year.  You've also confirmed my hunches about which movies I must see before awards season really kicks up, including (but certainly not limited to) My Week with Marilyn, J. Edgar, The Girl with the Dragon Tattoo, The Descendants, Hugo, and The Iron Lady. 

There are some specific nominations I'm very happy about and/or intrigued by, and most of them are the ones I know will evaporate just in time for the Oscars.  I love that you nominated Joseph Gordon-Levitt and 50/50, which is one of the more underrated movies of the year-- the only icing on the cake would've been if Seth Rogen could have sneaked into the Supporting Actor mix.  I love that Ryan Gosling is nominated twice; I think we can all agree that he just deserves some kind of "Best Human Being" award for everything he's done on and off screen this year.  Putting Rooney Mara in there for Dragon Tattoo is bold, and if I weren't already planning on seeing the film at midnight next week, I'd be even more inclined to watch it now.  Overall, I think you guys pretty much nailed it on the films front, with the only outrageous robbery being of Alexandre Desplat for the Deathly Hallows Part 2 musical score. 

Let's talk about television.  Namely, the burning question of whether we're watching even remotely the same shows.  Have you actually seen New Girl or Glee, or were you merely blindsided by the cuteness of Zooey Deschanel (who you nominated for best actress in a completely incomprehensible move), and the iTunes sales of Glee?  As two of the most overrated and wildly inconsistent shows on TV right now, there is no way either of those shows should be within 18 miles of a nomination for any kind of award, let alone one of the most prestigious in the bunch.  And on top of that, you refused to recognize anything about Parks and Recreation (with the exception of the brilliant Amy Poehler), which is currently in the midst of the television equivalent of a no-hitter.  There is so much wrong with this that I can barely articulate it. 

Therefore I move that the HFPA stop pretending it knows anything about quality television, and just play to its strengths, which is acknowledging movies that deserve recognition.  Just consider it, ladies and gentlemen; it might save you some time in the future, and fans of shows that are actually good a lot of needless frustration.

Sincerely yours,
Andrea

TV Review: Community 3.10-- Regional Holiday Music

If there is any episode that could have shown NBC what a mistake they're making in sending this show to hiatus, it might just be "Regional Holiday Music."  It isn't, perhaps, Community's best episode, but it illustrates the potential of this show in an absolutely delightful way.  This episode somehow manages to be a hilarious play on many of the quirks we've come to know and love in these characters, a spot-on parody of Glee, and in the end a heartfelt holiday episode, ending with a dose of good old-fashioned friendship.

The little digs at Glee in this episode are almost too numerous to count, but some of my favorites include SNL's Taran Killum as an only slightly creepier Mr. Schue, the bearded piano accompanist who appears as though from nowhere, and of course, the constant talk about the vague but certainly impending Regionals. 

And the music itself offered a lot of laughs, too.  From Troy and Abed rapping to "Baby Boomer Santa" to a children's choir prompting Shirley to sing with them about Jesus, there were many lyrics that were just pure gold.  Of course, there are a few obvious low points (Annie, I love you, but I can't listen to your voice when it sounds like that, or look at you when you're literally acting like a baby), but overall the music added to the episode in a logical way rather than seeming dropped in and random (like a certain other show I can't quite think of...).

This might not have been a holiday special on par with "Abed's Uncontrollable Christmas", but it was charming in its own way, and it achieved exactly what I hoped it would: ensuring that I will be wholeheartedly nostalgic for this show until it returns sometime in the unforeseeable TV future.

Until then...

TV Review: Parks and Recreation 4.10-- Citizen Knope

I love this episode because it's such a great ensemble episode, in the vein of many of the great moments from season 2.  This season has given us a lot of individual character development, which is enjoyable in its own way, but it was nice to see the Parks Department banding together for Leslie again, and just in time for Christmas too.

I think maybe Ben should've taken the job with the accounting firm-- think how amazing it would be for his ego being surrounded by co-workers who think he's hilarious rather than ones who are constantly pointing out his nerdiest tendencies.  On that note, though, this episode has me a little concerned for Ben and his role in the show going forward.  I am really hoping they don't simply relegate him to "Leslie's boy toy" status, especially after all they've done with his character this season.

The PCP storyline is just fantastic, and so typically Leslie (also, I really want a "PCP Makes It Fun" t-shirt).  I only hope that this group comes back to haunt her in some way once she's actually working in the Department again.  But even if it doesn't, I thoroughly enjoyed her tasking this group with harassing Chris, who can always stand to be taken down a peg.

But the best and most endearing part of this episode is the group's brainstorming and executing Leslie's Christmas gift.  Not only do I love all of them putting aside their usual tomfoolery to actually accomplish something, there are so many great, hilarious details in these scenes that are the trademark of this show, and a huge part of why it's so fabulous.  I loved Leslie's gifts to everyone (especially the painting she gave April-- did she do that herself?), and I loved their idea for a gingerbread replica of the office.  I think the funniest part to me, though, was the word cloud Tom compiled from Leslie's email.  There were many of the things you'd expect, "Pawnee" occupying the largest space and so on, but there were also some hilarious other additions that make you just want to read all of Leslie's correspondence (among these: "Hogwarts", "Biden", "Taylor Swift", "jeggings", all of which were predominant enough to be visible during the brief camera pan).  I also find it hilarious and adorable that Ann continues to outrank all the other people in Leslie's life, even Ben.

And last but not least, that final scene, where the gang finally presents their gift to Leslie.  I'm not ashamed to say I got a little choked up (did I mention that in addition to the gingerbread Parks Department, they've also decided to become her new campaign team?), and I can't wait to see the second half of the season.  There is absolutely no way this is going to be a smooth ride with this group in charge, and the bumps along the way are sure to be hilarious.

TV Review: How I Met Your Mother 7.12-- Symphony of Illumination

It's difficult to articulate what I felt about this episode after only one viewing (and a lot of reading other people's opinions on it), because yes, it was controversial, but it was a lot of other things too, and I think those things are more important.  There is a huge divide over whether this episode is fantastic or terrible, and I may be the only one who is hovering somewhere in the middle.  And I don't mean it was mediocre or forgettable, I just mean that it felt each minute like it could be tipped either way, and then the episode ended without leaning fully one way or the other.

As a seasoned (and borderline obsessive) viewer of this show, I knew there was no way that opening could be real.  Dropping a bomb like that about the endgame of the show in the first ten seconds of an episode is far too easy for a show that has been notoriously twisty and trickster-y since the pilot.  Therefore I spent most of the next two commercial breaks speculating wildly on what the twist would be, my favorite prediction being that perhaps future-Robin was at a memorial service for Barney, and telling stories about him to console his kids (I was stuck on the fact that she next explicitly said they were her kids, she just kept naming Barney as the father).  Of course, I was outsmarted once again by the magicians behind this show, and I think I'm okay with the way things went.  I know many many people felt cheated or betrayed by the reveal that Robin was imagining the kids, (and this must be the thing that Thomas and Bays worried would turn some viewers away), but I liked it because of the way it punctuated the journey Robin takes in this episode. 

After the previous episode, I worried that by going the baby route the writers were doing Robin's character a serious disservice-- she's always been adamant about not having kids, and the show (and her friends) have always seemed okay with that decision.  Most importantly, Robin was secure in that choice, and I loved that about her (of course, I'm biased because I happen to feel the exact same way).  The way this plot was executed allowed the writers to stay true to her character, and really flesh out how she feels.  With Robin it's always been kind of a stock answer that she doesn't want to marry and have kids, but they've never delved into the emotional underside of that decision.  By first taking away the opportunity to one day change her mind, then having her confront the idea of her potential kids in the most direct way possible, we the viewers got to accompany Robin on a journey through the ways she's changed over the seasons, and the ways she hasn't.  She tells her imagined kids that she's glad they aren't real, and you know what?  I'm glad too.

And I love that they gave Ted that moment at the end.  I was half-expecting Barney to have done something nice for Robin (and okay, maybe hoping a little), but I'm really glad it was Ted.  He hasn't had a whole lot to do this season, but this was a nice little touch for his character, reminding us that when Ted's not wrapped up in his own drama he's a really great friend.  It also shows the importance of these characters in each other's lives, and why his friends are such an integral part of the story of how he met the mother.

Overall, this episode served almost the same purpose as "Bad News" back around this time last year.  It gave us a tone and a hinge upon which the rest of the season will hang.  Keep in mind that we still have to find out what's going to go down with Barney, Ted, and Robin as well as who the heck Barney's marrying at that future wedding.  I have no doubt that this episode's events will influence both of those plots, and whether it will be for better or worse remains to be seen.

TV Discussion: A Controversial Prediction for How I Met Your Mother

If you haven't seen the most recent episode of How I Met Your Mother (which aired two weeks ago, begging the question of what, exactly, you're doing with your life if you haven't watched it), you probably don't want to read this, as I'll be discussing a particular plot point in heavy detail.

In my initial review, I proposed several possibilities concerning Robin's pregnancy and what it means for the show.  I felt equally not-confident in each prediction, but now having thought it over and (more importantly) gathered some revealing intel, I have reached two possible outcomes, and I'm not sure what to make of either one.

First, let's go over what we know.  In my excitement over the possibility of a Robin/Barney baby and subsequent reunion, I forgot that narrator Ted has previously told us that "Aunt Robin" doesn't have children of her own.  This was pointed out to me in a discussion, and though I have yet to corroborate it by tracking down the exact episode Ted says it, I do vaguely recall getting this information.  Therefore, unless the writers plan to unravel a thread established long ago, the options for Robin have diminished to two: abortion or miscarriage.

I have narrowed it down thus far because of a couple tidbits revealed by promotional materials and interviews with the executive producers of the show, Craig Thomas and Carter Bays (who I just realized I've been referring to on this blog as "Carter and Bays" for some reason, oops).  The first is that, much to my relief, the baby can't possibly be Kevin's, because according to Robin the two haven't had sex yet.  Additionally, Thomas and Bays dropped the revealing hint that Ms. Scherbatsky "really is pregnant, but whether she'll stay that way is the question."  In another article they are quoted as adding that this episode (presumably revealing the fate of Robin's potential child), is controversial, and that "some people might stop watching" the show in its aftermath.  Now, I can see the case for this being an obvious hint at an abortion storyline, but I'd argue that done in a certain way, miscarriage is still a possibility.  Let's break it down:

If she miscarries:  The reason for this turning audience members away seems obvious-- it might simply be too dramatic for a show that is predominantly a comedy.  Yes, part of the brilliance of season six was the somber storyline about Marshall's father, but that helped push all the characters into some positive character development and maturing.  I think a Robin miscarriage might be something that would just leave a dark mark on both her and Barney's characters, and maybe even the group as a whole.  It's difficult to imagine the gang bouncing back from something like that.  Also, if we want to get into a bit of a feminist debate, you could argue that the writers having Robin lose the baby takes away from the power of the choice she'd made, way back prior to season one, to not have children and pursue a career instead (that is, pulling the decision out of her control might imply that she would have inevitably had the baby if she could, and that doesn't necessarily jive with what we know of her character).

If she has an abortion:  The reason I'm hoping it isn't this (and simultaneously the reason I feel in my gut it's more likely), is because I don't think Barney would be able to forgive her.  Yes, it is absolutely Robin's choice and you will not see me fault her for it, but I'm thinking of it from a character development/writing standpoint. Barney has made huge leaps in terms of his views on family in past year (and the promos show him being excited about the prospect of fatherhood, though this could be taken out of context), and I think this kind of blow from the woman he loves would completely unseat him.  And that hint from narrator Ted at the beginning of the season is poking at the back of my mind again: what if this has to do with why Ted, Robin, and Barney can't all co-exist in harmonious friendship?  This would also be controversial for viewers because (apart from the obvious loss of staunch pro-lifers who are watching the show), over the course of the show we've primarily seen Robin softening as a character, becoming more well-rounded and even, in a few instances, motherly.  To have her return completely to her stance of kids not even being a vague option might feel to some viewers like a step backward, or something that makes her less likable (again, to be clear: arguing this from a TV standpoint, not debating the ethics of abortion).

I'll admit that I'm relieved we aren't going to have two babies introduced to the show at once (it's a notorious comedy killer), but I am anxious to see what this story line will do to the characters and relationships most concerned.  One thing I will say is that I don't think any outcome will make me stop watching (and I suspect many other viewers feel the same); I've come too far on this journey with Ted and the gang, if you think I'm not holding out until we actually meet the mother (maybe sometime in like... 2015), then you're nuts.

TV Review: Parks and Recreation 4.09-- The Trial of Leslie Knope

I don't usually share personal anecdotes about episodes (and lucky for you, this isn't too long an anecdote), but this Thursday I had a very long, exhausting, and moderately annoying day at work.  I was bone tired when I arrived home, and I made what was perhaps an ill-advised decision to stay up and watch this week's Parks episode instead of going to sleep.  To say that I am happy I made the choice I did would be an understatement.  Getting to come home to a heartwarming and hilarious half hour of comedy is one of the little joys I live for, and I'm not ashamed to admit it.  "The Trial of Leslie Knope" is different from any previous episode in many ways, but it still manages to capture the spirit of the show while continuing to have some of the best, most well-written plot progression of any comedy currently on television.

First, I'm pretty sure all the Ben and Leslie goodness of the past two weeks exists solely to make fans like me happy, and maybe also to serve as a kind of apology for the angst we had to endure for a few weeks there at the beginning of the season-- remember their breakup in "I'm Leslie Knope"?  All that seems just a distant memory now, and I couldn't be gladder.

The cold open this week is perhaps one of my favorites ever-- not only do I love Ron being his crazy, anti-government self, any scene where he and April interact is usually pretty much guaranteed gold.  And while most of the episode centered on Leslie and the trial to investigate her and Ben's transgression, I liked the way the supporting characters were utilized, both as witnesses and as the people staunchly in Leslie's corner, no matter what.  I think it's great when this show reminds us just how much the Parks Department gang love Leslie, and really do look up to her despite their frequent shenanigans.

Honestly, there was not too much about the trial and punishment plot itself that I hadn't predicted-- the bribe emerging in some form and Ben resigning were kind of obvious possibilities, in my mind-- but it's a mark of this show that neither development came off that way.  I will be interested to see how they incorporate Ben now that he doesn't work at City Hall (because I definitely don't want to lose the rapport he's built with the other members of Leslie's department this season), but I'm sure they'll find a way to make it work.  After all, Ann was a city government outsider for almost three whole seasons, and we definitely saw her often enough.

Hands down, though, the best part of any of Leslie's defense was that video she sent Ann.  It was simultaneously creepy and adorable (so much that I had real difficulty deciding between those two adjectives), and just so Leslie.  Ms. Knope has been making progress from some of her wacky ways, but I love seeing that she's still got some madness up her sleeve, and hope we'll continue to see glimpses of it.

And Ethel! I loved her in "The Bubble" clashing with Tom, and I loved her even more as the go-between in Leslie and Ben's declarations of their feelings.  Yet another great thing about this show is their memory for very minor characters who later show up in big ways.  Each appearance just makes Pawnee feel more and more like a real place, one you could easily love just as much as Leslie does.

In conclusion, there is probably nothing about this episode that didn't make me smile.  The only negative thing about season 4 of Parks so far is the level of anger I will reach if it doesn't earn an award (Globe or Emmy, or even People's Choice, I'm not picky) for the brilliance it churns out every single week.

Decking the Halls Before the Snow Falls: A Defense of Early Holiday Celebrations

This is a topic on which the majority of folks will either wholeheartedly agree or disagree with me.  There's really no middle ground to be found when it comes to the age-old debate over just how early one ought to launch into a full-scale celebration of Christmas.  I've heard the arguments on both sides, and I can understand even the people who are most militantly against the mere mention of reindeer, sleigh bells, and old St. Nick prior to December 24th (maybe the 23rd if they're feeling extra generous).  However, I think these views are far too heavily influence by the presence of holiday hoopla in the media and most particularly in advertising, with commercials promoting Christmas specials have been known to appear before people have even decided on their Halloween costumes.  I'd therefore like to present a defense, an appeal of sorts, really, on behalf of those of us who like to get in the holiday spirit as early as possible each year. 

My reasons for embracing the spirit of the season early and fervently are primarily personal, but I think I'm right in assuming I'm not alone in many of them.  For me the biggest factor is the unrelenting stress and dreariness of much of the rest of the year.  So many days fly past without any of us taking pause to just breathe and enjoy the simple beauty of something like the weather, or the way the city looks at night.  For some reason, these things become so much more acceptable and even expected once snow has made its first appearance, or once the Christmas lights and decorations have been hung.  I've always found that people are almost inadvertently kinder, more patient the nearer we draw to the big day (I am of course exempting shopping malls on Black Friday, that is a beast entirely its own), and I absolutely thrive on it. For a few weeks of the year, it really does feel like maybe, just maybe, we're all in this together.  And can you really blame a girl for wanting to prolong that feeling as long as possible?

There are other, more specific benefits to the little features of the holiday season.  Christmas music may be repetitive and sometimes over the top, but it's also soothing in its familiarity, and in the overall sentiment found in most of its lyrics.  I will take wishes for peace on earth and good will toward men, decking the halls and sleeping in heavenly peace over angry, hyper-sexualized Top 40 tunes any day of the week.  And while there are some singers for whom a holiday album is a grievous offense against humanity (Bieber, I'm looking directly at you), I challenge you to listen to Vince Guaraldi or Sufjan Stevens' holiday tunes and tell me honestly that they don't warm your heart just a bit.

Gift giving is another one of my favorite things about Christmas.  It has always made me happier to see the smile on someone's face opening a gift from me than receiving anything of my own.  I love shopping for my friends and family, challenging myself to find the gift that fits them best.  It's like a yearly test of how well you know your loved ones, and ever the over-achiever, I always strive for a perfect score.  And ignoring some of the tedious logistics of the actual shopping (the mall can actually be a pain-free experience if you're careful about choosing non-peak hours and days, and if you have clear objectives in mind before setting foot inside), buying the gifts is just plain fun.

I could go on forever about the joys of things like holiday movies (I will argue till my death that Love Actually is legitimately the best rom-com of the last 20 years), holiday foods, sending holiday cards, and experiencing the tranquil beauty of a white Christmas, but I won't.  What I will say is that even if you are something of a Grinch when it comes to celebrating prior to Thanksgiving, you should still respect that some of us are just trying to make the joy last as long as we can.  We won't force you to sing along to our favorite carols with us (we won't even make you listen to them if you don't want to, because that wouldn't be a very nice thing to do), but please don't try to make us all out to be overzealous consumer-bots who only respond to early holiday stimuli supplied for us by big business and the media. The holidays are a time to remember our capacity for generosity and kindness toward our fellow man, and like it or not, that includes you too.

And hey, Thanksgiving?  When you come out with some awesome music/movies/decorations/traditions other than eating my weight in food for your day, maybe we'll be less inclined to count it as merely a step on the way to the real event.  Ball's really in your court on this one.

TV Review: How I Met Your Mother 7.11-- The Rebound Girl

I have to say, as much as I love NBC's lineup, if there is a November sweeps MVP this year, it's got to be How I Met Your Mother.  This show has pulled out every conceivable stop this month, throwing viewers on a roller coaster ride that I, for one, was not entirely expecting.

Speaking of expecting... (see what I did there?), we should probably talk about that teeny tiny little line that ended the episode and threw us all for a loop.  Our favorite former commitment-phobe, Robin, is pregnant!  Or at least, she seems to think she is.  She also seems to think Barney is the father, as he is the recipient of this cut-to-black bomb drop. 

This episode's first twenty or so minutes were pretty hilarious, and this would have been an okay installment even without that last-minute cliffhanger.  We see Marshall and Lily wavering in their decision to sell the house in the suburbs left to them by Lily's grandparents, contemplating the virtues of leaving city life behind to raise their kid.  Robin is adamantly against this possibility, absurdly so until you put it together with her later revelation.  She locks herself in the bathroom in protest, while Lily and Marshall wait for a sign from the universe that they ought to uproot their lives to make way for baby.

Also contributing to the laughs, Barney and Ted drunkenly lament their woes with women, first wishing they could just be gay together, and ultimately arriving at the conclusion that they should adopt a kid together and embark on a happy lifetime of "bro-parenting".  It's perfect-- all of the great parts of having a kid, with none of the romantic drama!  The plan veers out of control right around the time Barney shows up at Ted's with a mystery baby he appears to have stolen (don't worry, it's later revealed to be his niece, whom his brother asked him to babysit), and both Ted and Barney come to the conclusion that they really do want families, but with the "right" person.

But of course, the focal point for me is Robin's announcement at the episode's end.  I kind of wish she would have apologized to Barney for her behavior last week, or at least tried to explain, but it's clear that she's got more than a few things on her mind at the moment.  What does a Robin pregnancy mean for the rest of this season, for the overall arc of the show, and most importantly, for her and Barney?  Let's look at our options, which include, but are not limited to, the following:

1) It's a false positive.  This would be almost too easy, and kind of a huge let down after the way the set up the reveal.
2)  It's Kevin's.  Unlikely, since Kal Penn's arc on the show is almost over with no additional episodes contracted (of course, that can easily change); and I can't really see him walking away from his kid.  Also, he just doesn't mesh as well with the gang as he could, and I feel like Ted would have given us some kind of indication in his narration that Keven is part of Robin's future if that were the case.
3)  It's Barney's.  This is the one I think many fans are rooting for, but it will not be an easy road even if it turns out to be true.  Several factors are working against our favorite couple here, the first being that a casting announcement was recently made about a new long-term love interest for Barney with episodes beginning in January.  I personally am predicting that he may rush into a marriage with this girl in order to "compete" with Robin's pregnancy (assuming she keeps the baby), and that's the wedding we saw in the flashforward in this season's premiere.  Remember that Barney was feeling slightly conflicted in those scenes; that could easily be because he's still torn about lingering feelings for his friend (and possible baby-mama) Robin.
3a)  It's Barney's, and Robin is the girl he's marrying in the flashforward.  And everyone lives happily ever after.  And then we meet the mother, which shifts the focus back to Ted full time.  Actually...this could maybe, just maybe, be a real possibility.  Maybe the writers (and future Ted) have set up the story in a way that sort of "settles" everyone else's lives before launching into the endgame tale of Ted meeting his own future bride.  Then again, this show and many of the fans seem to thrive on Barney/Robin drama, so I'm not sure they're willing to give that up any time soon.

There are a hundred possible ways this story line can unfold, and my predictions may be way off target.  However, I do think this is part of the "huge season" for Robin that the writers were mentioning back in the summer, so I do think she'll go through with the pregnancy, whoever the father may be.  It's possible she'll simply go it alone for now, and any development with Barney or another suitor will come along later.  Based on everything they've done so far, though, one thing is certain: I trust the writers to tell this story, and I can't wait to see what they do next.

TV Review: Parks and Recreation 4.08-- Smallest Park

Finally, I have time to discuss this episode!  I've re-watched it a couple of times now, which was necessary, because my initial reaction was something along these lines:

Inner Voice 1:  Leslie and Ben are getting back together!  Did anything else important happen in this episode?
Inner Voice 2:  Nope.  I don't know that anything else happened in this episode, period.

Thankfully, I've managed to distance myself a little bit and appreciate this episode as a whole.  I will acknowledge that "Smallest Park" is not my favorite overall episode of the season in terms of delivering uproarious laughs, but it does a whole lot of character development in 22 minutes, with a care and swiftness of which few shows are capable.  Also, I've concluded that I think this should be (at the very least) a serious contender for the episode Amy Poehler (and Adam Scott, if at all possible outside my imagination) ought to submit for Emmy consideration.  But more on that in a minute; let's review what went down in Pawnee this week.

First we get a generous dose of Tom struggling to walk the line between his entrepreneur persona and the role he has returned to in the Parks Department, working alongside Jerry to re-design the department's logo.  This may have been similar to the attitude old Tom so frequently displayed, but I like to think his decision at the end to go with the retro "throwback" design is indicative that he really has grown and maybe, just maybe, learned a little something from his time working with Jerry (cue hysterical laughter from everyone present in the office).

Also making baby steps forward:  Andy and April.  The focus this week is Andy's foray into community college, shopping for classes and trying to find one that will best allow him to expand his horizons.  Along for the ride as a chaperone/mentor is Ron, who pushes Andy to challenge himself.  I have to say, I think Ron and Andy's friendship runs a close second to Ron and Leslie's for my favorite friendship on the show, because it gives us such a great glimpse of Ron's capacity for selflessness and compassion, despite the tough-as-nails facade he always puts on.  In the end, Andy decides to take a Women's Studies course (which yes, is every bit as hilarious as you're imagining), and Ron offers him an exclusive "scholarship" to kick-start his education.

Did I forget anything?  Oh right.  There is also some major stuff going on with Leslie and Ben in this episode.  Major. Stuff.  They're working together on the smallest park in Indiana (which has to be one of my favorite Leslie projects so far), but Ben insists it will be the last time they work together, as it's just gotten too difficult to be around one another following their breakup.  Leslie , in typical stubborn fashion, refuses to accept this (though she pretends to understand), and strives to prolong the project's duration as long as she possibly can.  Luckily, we get a reprieve from the Ann and Leslie friendship drought this season's been enduring, just in the nick of time.  Ann lets Leslie know, finally and in a necessarily blunt way, that she is a "steamroller" and fails to take the feelings of others into account. And because Ann is the one person Leslie will always allow to talk her down, she concludes that this assessment must be correct, and sets out to show Ben that she's capable of changing her ways.

And then the best scene ever happens.  Seriously, if nothing else, watch Leslie and Ben's faces during that last exchange; it is mind-blowing how good the acting is, and there is no moment more deserving.

Like I said, I think that this is an ideal episode for Amy Poehler to submit because it literally showcases all the nuances of the amazing things she's doing on this show.  We get some always funny Leslie-craziness as she tries to put off the park's opening, a carefully constructed and realistic arc for her character as she realizes the damage she's been doing to her relationships, and some genuine but not over-the-top emotion in that last scene with Ben.  It's everything a sitcom actress ought to be doing on a show like this, and while I would have been ticked about it before, Amy Poehler getting snubbed for recognition after an episode like this one is an absolute crime.

TV Review: How I Met Your Mother 7.10-- Tick Tick Tick

Every so often there is an episode of a television show where I'm sure the writers have targeted me personally.  "Andrea," they hypothetically say, "we decided to write 20 minutes of television with the sole intention of taking your heart, squeezing and releasing it a hundred times, and ultimately shattering it into a million pieces."  This is that episode.

Needless to say, if you haven't watched it, I'm about to have a lot of detailed, spoiler-filled thoughts about it, so you probably shouldn't keep reading.

After last week's twist ending, I was pretty sure HIMYM couldn't outdo itself this week.  But it really, really did.  "Tick Tick Tick" is perhaps one of my new all-time favorite episodes, because it did almost all of the exact things a comedy needs to do during sweeps.  There was conflict, with Barney and Robin fretting over how to tell their respective partners what they'd done; there was a gradual increasing of the stakes (Barney's speech about them getting back together floored me.  I think that was the most open he's ever been with Robin and possibly with any character on this show thus far, and it was absolutely amazing.  This is how you develop a character, folks.)  There was a dramatic ending (not necessarily a "twist," since you knew the moment they set that midnight deadline that something would go awry), and potential for weeks and weeks of fallout (that I can't wait to see).  And as the icing on the cake, there was a hilarious B storyline seemingly designed solely to diffuse the tension of the Barney and Robin goings-on in the A story.  Ted and Marshall and drugs will always be funny to me.

I think this episode, when it wasn't amping up the drama between them, really gave us a good look at where Barney and Robin are individually as characters.  It was interesting to see Barney be the one to ultimately confess his transgression to Norah, who promptly dumped him, while Robin, who they both seemed to agree was less of a mess than Barney, got miraculously let off the hook by Kevin (who I personally think came off as kind of a pushover in that last scene), and didn't have to fess up at all.  I think Barney is in a place now where he wants to try his best to not be selfish, whereas Robin will still take the easy way out if given the opportunity (granted, in this case it was pretty much presented to her on a silver platter), and I think that has given us an intriguing and fresh imbalance in their relationship.  Dare I say that Barney is now the more mature of the two, willing to step up and confront what's really going on while Robin hides behind her boyfriend?  This has some definite potential, especially in contrast to season 4 when Barney was pining after Robin but afraid he wasn't good enough.

Also, that scene at the end, where Ted saw Barney in Robin's room, cleaning up his would-be romantic gesture?  Not only was that a heartbreaking moment, but I think it is also the very beginning of the conflict between the three of them that Ted alluded to in the voiceover of the episode earlier this season, when Victoria insisted the three of them couldn't all be friends.  Ted knowing that Barney is pursuing/wants to pursue Robin again is something that I think will play an increasingly significant role the rest of this season.  I only hope that it doesn't go the same way as the season 3 arc following Barney's initial tryst with Robin, where Ted held a grudge for entirely too long. 

If there's an episode next week we might get another dose of this sweeps goodness before Turkey Day, if not I'm expecting more of a focus on Ted when the show returns.  I love the Barney and Robin stuff, I really do, but this season is also supposed to show us Ted actively trying to find his wife, and so far we haven't seen much of that.  I think it'll be good to see a renewed energy on that end of things while Barney and Robin simmer in the background, at least until she inevitably breaks up with Kevin (it is inevitable, right?  Right?).

NBC's Thursday Night Shuffle

Apparently this kind of thing only happens when I've vowed to avoid the Internet for a few days.  As you may have heard/read/seen, NBC released its spring schedule today, and there are some questionable choices that appear to have gone into it. 

The Good:  Whitney is finally being yanked from the Thursday lineup (after half a season spent hyping it above and beyond the other three shows), and transferred to the Wednesday night opening slot, where it will meet its true ratings fate.  This made space for the charming Up All Night to mosey over to Thursday night, where it will trail The Office and close out the evening's comedy.

The Bad:  I know many of us have been wondering where exactly 30 Rock would land when it came time for its mid-season premiere, and now that we have our answer, to say it's disappointing would be an understatement.  Tina Fey and company will lead off the night on Thursdays beginning in January, with Parks and Recreation following in its current timeslot.  What this means, unfortunately, is that quirky favorite Community has been left out in the cold.  NBC's official line is that the show has been "benched" rather than cancelled, but it remains unclear what, exactly, that means for the Greendale gang.

Thoughts:  I understand the need to make changes; after all, there just isn't room on Thursday night for six comedies (although if I were in the decision-making chair, I might have petitioned for a third hour of comedy that night rather than tacking on a new drama at 10/9c.  I am absolutely excited to see 30 Rock back, but I didn't consider that it might cost me another one of my favorite shows.  And while I am obviously concerned about the future of Community (will it come back in the summer? will we have to wait until fall to see the rest of season 3? are webisodes of some kind an option?), I take a little bit of issue with the lineup of the remaining shows as it stands.  The goal here is ratings (which is the chief reason Community was the show to get the boot), and I don't know if these shows are in the order that will most benefit them.  30 Rock has never led the night before, and given that it's been missing all of fall, it might lack the momentum it needs to succeed there.  I personally would have put Up All Night at the 8/7c spot, which is where it's been doing a consistent job on Wednesday nights.  If NBC is going to move forward with 30 Rock as the starter, they are going to need to hype the crap out of it (I have yet to see any evidence that this is in the works at all), much in the way they failed to hype any Thursday show save for Whitney at the end of the summer.  One good thing this arrangement has going for it is that it might give Parks and Recreation the ratings bump it needs, because so many people are fans of both that show and 30 Rock.

The Verdict:  We'll have to wait till January to see how it all pans out, but in the meantime I'll be interested to see how the folks over at Community handle this bump in the road.  They've now got 3, maybe 4 episodes before this "benching," during which they might just be able to do whatever the heck they want (and I hope they do).

TV Review; Parks and Recreation 4.07-- The Treaty

All right, writers of Parks and Recreation, you know us too well.  I can't speak for everyone (though I'm pretty sure my opinion is in the majority), but if I can't have Leslie and Ben actually being together, I will gratefully accept a heavy dose of them being nerds together and arguing (UST, anyone?), which is exactly what "The Treaty" gives us.  It also has a pretty amazing model-UN story, with Andy and April tagging along to help out (and be hilarious).  Throw in Tom and Ron interviewing the worst candidates ever for the former's position in the Parks Department, and a Chris storyline that manages to minimize his annoying factor (mainly because Ann and Donna tell him a bunch of things that make him annoying), and you've got a fantastic episode (directed by Jorma Taccone, no less, who seems to be everywhere these days).

The Model UN project is perfect because it is right up both Leslie and Ben's respective allies, plus it gives them both a chance to gain some perspective on their maturity, which takes a significant plunge in this episode (particularly after Leslie's declaration of war against "Peru").  As a side note (but very important), I loved April and Andy's contributions (if they can be called that), lightening up what could have been another very cringe-worthy Leslie meltdown.  I do like that they make it up to the kids in the end with the kind of Leslie Knope, pulled-from-nowhere solution we've come to know and love.  Oh, and I also adored the scene with Leslie and April by the lockers, because it is a great moment between the two of them, and we haven't gotten one of those in a while.

I'm glad Tom will be re-joining "Tommy's Place" (which is what he has officially dubbed the department), because I miss having him around, and I'd also like to see him take a larger role in Leslie's campaign without the distraction of Entertainment 720.  The video he made for Leslie in "Meet n Greet" shows that he's capable of doing the exact kind of schmoozing/propaganda she's going to need (especially when she gets a rival candidate, which is supposed to happen soon), and I'd like to see him do something productive for his friend and show his growth following his failure as an entrepreneur.

The Chris storyline is kind of boring except for the opportunity it affords Ann to show the transformation she's made from last season.  Also, I tend to agree with her stance on jogging:  "Jogging is the worst!  I mean, I know it keeps you healthy, but God, at what cost?"

Overall a strong episode, very funny and full of some truly great character moments.  It didn't quite reach the scope of last week's epic installment, but it made some important steps forward.